{"corpus":"steiner","locus":"GA 301/1920-04-28/p019","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"I have spent a great deal of my life in art studios and have seen how everything that modern artists produce, that is, sculptors and painters, depends upon a model. This leads people to think, for example, that the Greeks also depended upon models for their artistic creation, yet that is not the case. Those who properly understand something like the Laocoön group, or some other such figure—those of course are from the later Greek period—those who really go into such things will slowly come to recognize the independence, particularly of Greek artists, from the model. Certainly Greek artists could see things well and retain them in a picture. However, that alone is insufficient. The Greek artist, particularly as a sculptor, created from the feeling of a limb, from their own feeling and perception of a limb and its movements. Thus in their artistic creations they inwardly felt, for example, a bent arm and a balled-up fist, and that inner feeling was not simply what they saw with their eyes in an external model. It was not the external model that was reproduced in a material, but that inner feeling, the feeling of the human form. It is in fact this inner feeling of the human being that has been lost to European civilization since the time of the Greeks. We need to study the transition from the feeling of the human being, from an organic self-recognition that existed with the Greeks and that in the end is contained in every Greek poem, in every Greek drama. We need to recognize the difference between that feeling, between the organic self-recognition, or, better, self-observation or self-feeling of a human being, and what occurs through a simple imitation of what is seen, through basing work upon a model. It is clear that the Greek artists were able to achieve what they wanted. It is easy to say that the Greeks gained an overview of forms through the Olympic Games and such things, and certainly that was of some help. However, the most important aspect of artistic creation was that inner feeling, the feeling organ. Thus the Greeks were in their artistic creations very independent of the model, something that for them was a kind of preliminary design, which they held to externally.","text_trust":"verbatim","quote_safe":true,"title":"VI. Teaching Eurythmy, Music, Drawing, and Language","site_heading":null,"date":"1920-04-28","location":null,"word_count":380,"url":"https://anthroposophy.ai/v1/steiner/en/ga/301/1920-04-28/p019","alignment_confidence":"medium","alignment_reason":"beads:length","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Ruth Pusch and Gertrude Teutsch","identified_edition":"AP2001","book_title":"The Renewal of Education","publisher":"Anthroposophic Press","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA301/English/AP2001/19200428d01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"edition_coverage":{"de":["original"],"en":["English"]},"available_versions":[{"lang":"de","edition":"original","edition_basis":null,"is_original":true,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/de/ga/301/1920-04-28/p019"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/301/1920-04-28/p019","paragraph_aligned":true}],"record":{"record_type":"unknown","scope":"volume","note":"How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.","evidence":null,"evidence_translation":null,"evidence_source":null},"german_anchor":{"de_prefix":"1920-04-28","de_passages":[{"locus":"GA 301/1920-04-28/p020","url":"https://anthroposophy.ai/v1/steiner/de/ga/301/1920-04-28/p020"}],"bead_confidence":"medium","pairing_state":"proposed","verified":false,"length_check":{"de_words":394,"en_words":380,"ratio":0.96,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"paired_german":{"status":"paired","german":[{"locus":"GA 301/1920-04-28/p020","passage_number":20,"text":"Ich habe wahrhaftig in meinem Leben viel Zeit zugebracht in Ateliers und habe gesehen, wie alles beim heutigen Künstler, namentlich beim Bildhauer, beim Maler, vom Modell abhängig ist. Das führt dann dazu, daß man zum Beispiel glaubt, daß auch die Griechen vom Modell in ihrem künstlerischen Schaffen abhängig waren, und doch ist dieses nicht der Fall. Es ist nicht der Fall. Wer richtig versteht so etwas wie, sei es meinetwillen die Laokoon-Gruppe, sei es irgendeine einzelne Figur — wir haben ja solche natürlich aus der späteren griechischen Kunstzeit —, aber wer sich wirklich hineinversenkt in diese Dinge, der wird doch nach und nach dazu kommen, einzusehen die Unabhängigkeit gerade des griechischen Künstlers vom Modell. Gewiß, der griechische Künstler konnte gut anschauen, und er konnte gut behalten das Bild. Aber das allein genügt eben nicht. Der griechische Künstler schuf namentlich als Plastiker so, daß er von dem Fühlen des Gliedes, von dem eigenen Fühlen und Empfinden des Gliedes und seiner Bewegung im künstlerischen Schaffen ausging, daß er zum Beispiel einen gebeugten Arm mit einer geballten Faust innerlich empfand, und dieses innerliche Empfinden, also nicht dasjenige, was er bloß mit dem Auge anschaute an dem äußeren Modell, gab er wieder, sondern dieses innerliche Empfinden, dieses Fühlen der menschlichen Gestalt, das prägte er dem Stoffe ein. Es ist tatsächlich dieses innerliche Erfühlen des Menschen seit der Griechenzeit der europäischen Zivilisation verlorengegangen. Und man muß erst studieren den Übergang vom Erfühlen des Menschen, von seiner organischen Selbsterkenntnis, die beim Griechen da war, die schließlich in jedem griechischen Gedicht steckt, die in jedem griechischen Drama steckt, wenn man sie nur finden will - man muß den Unterschied zwischen diesem Erfühlen, dieser organischen Selbsterkenntnis des Menschen, besser gesagt Selbstanschauung des Menschen oder Selbsterfühlung des Menschen, und dem, was entsteht durch anschauungslose Nachahmung des Angeschauten, durch das Bauen auf das Modell erkennen können. Und gewiß, es floß beim griechischen Künstler dasjenige, was er wollte, zusammen. Man hat es ja leicht, nicht wahr, indem man sagt: durch die olympischen Spiele und dergleichen konnte der Grieche die Formen übersehen. Gewiß, das trug auch dazu bei; aber das Wesentliche des künstlerischen Schaffens war dieses innerliche Erfühlen, das Organ-Erfühlen. Und so war er schaffend ganz stark unabhängig von dem Modell, das höchstens für ihn eine Art Vorwurf war, an den er sich äußerlich hielt, Das Wesentliche war bei ihm dieses innerliche Erfühlen, diese organische Selbsterkenntnis.","text_trust":"verbatim","quote_safe":true,"word_count":394,"url":"https://anthroposophy.ai/v1/steiner/de/ga/301/1920-04-28/p020"}],"english":["GA 301/1920-04-28/p019"],"method":"length","confidence":"medium","correspondence":"established","length_check":{"de_words":394,"en_words":380,"ratio":0.96,"partial":false},"pairing_state":"proposed","verified":false},"witness_completeness":{"ratio":0.95,"band":"comparable","note":null,"word_count":7531,"original_word_count":7940,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Ruth Pusch and Gertrude Teutsch","identified_edition":"AP2001","book_title":"The Renewal of Education","publisher":"Anthroposophic Press","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA301/English/AP2001/19200428d01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 301/1920-04-28/p020"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"medium","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. 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